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DBR recently premiered We Shall Not Be Moved, a chamber opera co-commissioned by Opera Philadelphia and Apollo Theater, with libretto by Marc Bamuthi Joseph, and direction by Bill T. Jones. New York Times called the work “The Best Classical Performance of 2017.” He is currently creating the musical score for The Just and The Blind, a new collaboration with Marc Bamuthi Joseph commissioned by Carnegie Hall.

ABOUT THE MUSIC DETLEV GLANERT (1960-) American Prelude No. 1 Premiered on July 20, 2015 at the Tanglewood Music Center under the direction of Ruth Reinhardt. What is American music? That’s the question German composer Detlev Glanert asked himself when he was commissioned to write three short symphonic works for performance in the US. He found his answer in the music of Ives, Copland, and Bernstein. Glanert’s affinity for Romantic music viewed from a modernist perspective made it easy for him to explore the mid-twentiethcentury milieu of Copland’s and Bernstein’s America. The end result is a piece bustling with energy and excitement. The Boston Globe describes the First Prelude as “a plush, brassy fanfare, coursing with updated late-Romantic panache.” While Glanert spent most of his career in Germany and Italy in the world of opera, his 1985 studies at Tanglewood provided an obvious glimpse into the American tradition of concert music. In a way, his First American Prelude might be viewed as a musical postcard exploring the American tradition of Ives, Copland, and Bernstein from a modernist German perspective. DBR (1971-) Voodoo Violin Concerto “This is not your mama’s classical music” might be the understatement of the century by DBR about his eclectic style mixing classical, hip-hop, rock, jazz, blues, and folk styles. Hailed by The New York Times as “about as omnivorous as a contemporary artist gets,” DBR has collaborated with a diverse group of musicians—including Philip Glass, Cassandra Wilson, Bill T. Jones, Savion Glover, and Lady Gaga. And calling Snoop Dogg one of the greatest chamber musicians of modern times showcases DBR’s deep understanding of the whole spectrum of American musics. On his YouTube channel DBR explain that, “As an artist entrepreneur, I really am committed to create projects that speak to social injustice, have something to say about racial and social identity—and, in many ways, I’m trying to figure out how are we all going to live together.” In 2002 DBR conceived his Voodoo Concerto initially as a chamber work for the Kitchen House Blend, a 10-member ensemble of strings, reeds, brass, percussion and piano. Four years later he arranged it for full orchestra. As the title suggests, DBR explores some of his Haitian roots. Yet his approach is

ANTONÍN DVOŘÁK (1841-1904) Symphony No. 5 in F major, Op. 76 Premiered on March 25, 1879 in Prague under the direction of Adolf Čech. While Dvořák was one of the first European composers who truly wrestled with the question of the American musical tradition, his Fifth Symphony explores his own, Czech identity. There are few works with a more confusing publication history than Dvořák’s Fifth. Yet its circuitous route offers insights into Dvořák’s development as a Czech composer in a culture dominated by German Romanticism. While the work actually was the fifth symphony Dvořák wrote, it was published as his Third Symphony (1888), and his published “Symphonies Nos. 1 and 2” are really his Symphonies Nos. 6 and 7. To make the matter even more confusing, Simrock cunningly invented a much higher opus number (76 instead of 24), selling the audience on the idea that this was his most mature work to date. So what’s behind all of the confusing renumbering? In order to understand Simrock’s motivation for his shrewd business move, we need to look at Dvořák’s career path. Virtually unknown in 1874 outside of Bohemia and without any major publications to his name, Dvořák submitted a variety of compositions as application for an Austrian state stipend. Not only would Dvořák receive a substantial sum for the next several years, but Brahms, who was one of the judges, recommended Dvořák to his publisher: As for the state stipendium, for several years I have enjoyed works sent in by Antonín Dvořák (pronounced Dvorschak) of Prague. This year he has sent works including a volume of 10 duets for two sopranos and piano, which seem to me very pretty, and a practical proposition for publishing. … Play them through and you will like them as much as I do. As a publisher, you will be particularly pleased with their piquancy. … Dvořák has written all manner of things: operas (Czech), symphonies, quartets, piano pieces. In any case, he is a very talented man. Moreover, he is poor! I ask you to think about it! The duets will show you what I mean, and could be a “good article.” Dvořák’s Fifth Symphony was composed in response to his first stipend in 1875. Emboldened by the positive feedback, Dvořák decided to compose a “Czech” symphony that showed less influence of the New German School and a more individualistic approach. The use of Czech rhythms and other folk idioms—in particular in the inner movements—created an ingenious work teeming with energy; and the use of a variety of folk-like melodies helps create a pastoral mood. It was not difficult for Simrock to sell Dvořák’s “latest” symphony as a modern work, where the somewhat exotic composer had come into his own. Ironically, Simrock’s advertisement of the Fifth as a Czech work was prophetic, because Dvořák’s Eighth would become the mature symphony where the composer embraced (once again) his Czech heritage. - Siegwart Reichwald

2019 Summer Institute & Festival

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ORCHESTRA

An avid arts industry leader, DBR serves on the board of directors of the League of American Orchestras, Association of Performing Arts Presenters and Creative Capital, the advisory committee of the Sphinx Organization, and was co-chair of 2015 and 2016 APAP Conferences.

much broader, “This concerto is most concerned with the notion of the ritual, or our collective rites of passage. From the current state of a highly technological country in the United States of America (the techno-textures and rhythms of “Filter”), to my own relationship with Catholicism (the meditative tonality of “Prayer”), I find “Tribe” in all of its primitive repetition, to, perhaps, be the most accurate depiction of where we are right now, as a collective, civilized society; a collective, civilized world.”

JULY 6

orchestras, and performing arts centers. DBR earned his doctorate in Music Composition from the University of Michigan. He is currently Institute Professor of Practice at Arizona State University.

Profile for Brevard Music Center

2019 BMC Overture Magazine  

The seasonal publication for the annual Brevard Music Center Summer Festival. Overture includes all festival programming and program notes,...

2019 BMC Overture Magazine  

The seasonal publication for the annual Brevard Music Center Summer Festival. Overture includes all festival programming and program notes,...